多模態(tài)話語分析視角下《二十二》中慰安婦的心理研究應(yīng)用心理學(xué)專業(yè)

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1、A Study on the Mentalities of Comfort Women in Twenty Two based on Multimodal Discourse Analysis 多模態(tài)話語分析視角下《二十二》中慰安婦的心理研究 摘要 今天，多模態(tài)話語分析被廣泛地用來分析各種文藝作品，例如小說、戲劇、電影、音樂等。語言學(xué)家Kress認(rèn)為語篇是社會語境中所存在的所有符號系統(tǒng)的總和，不僅包括語言，還包括文字、圖像、顏色等視覺符號，還有音樂、音響等聽覺符號系統(tǒng)，Kress和Van在韓禮德的語言三大元功能基礎(chǔ)上構(gòu)建了視覺語法理論框架，提出了圖像表達(dá)的三種意義功能：再現(xiàn)意義、互動意義

2、和構(gòu)圖意義。本文以Kress和VanLeeuwen的視覺語法為框架，研究電影《二十二》的多模態(tài)話語分析并最終得出有關(guān)幸存慰安婦對于自身經(jīng)歷的真實想法的結(jié)論。 關(guān)鍵詞：多模態(tài)；話語分析；視覺語法；電影 Abstract Today, we have seen the multimodal discourse analysis is being applied into the study of novels, dramas, movies, music, and the like. Linguist Kress holds that discourses contain all symbo

3、lic systems in social context, including, except for language, visual symbols (words, images and colors, etc) and hearing symbols(music, audio, etc). Kress and Van Leeuwen proposed visual grammar on the basis of Hallidays three meta-functions, believing there are three meaning functions in image rep

4、resentation: representational meaning, interactive meaning and compositional meaning. Based on Visual Grammar, this thesis will analyze the multimodal discourse analysis of the movie Twenty Two. Finally, we will know what the real thoughts of those survived force-to-be comfort women are in the movie

5、. Key Words: multimodality; discourse analysis; visual grammar; Movies Contents: Chapter 1 Introduction 1.1 Background of the Study 1.2 Objectives of the Study 1.3 Outline of the Thesis Chapter 2 Literature Review 2.1 A Review of the Movie Twenty Two 2.2 Previous Studies on Multimodal Disco

6、urse Analysis at Home 2.3 Previous Studies on Multimodal Discourse Analysis Abroad 2.4 Space of the Study Chapter 3 Research Design 3.1 Research Theory 3.2 Research Methods Chapter 4 Data Analysis and Discussion 4.1 Analysis of the Movie----Twenty Two 4.1.1 Representational Meaning of the Mo

7、vie 4.1.2 Interactive Meaning of the Movie 4.1.3 Compositional Meaning of the Movie 4.2 The Combination of Different modalities in the movie Chapter 5 Conclusion 5.1 Major findings of the study 5.2 Implications of the study 5.3 Limitations of the thesis 5.4 Suggestions for further studies R

8、eferences Chapter 1 Introduction 1.1 Background of the study The year 2017 marks the 80th anniversary of the Massacre of Nanjing, which recalled the world back to the shocking disaster. Under the background of this, the movie Twenty Two hit the theatre in 2017. Previous studies on movies are not

9、rare, but this movie has little researchers. This thesis takes the comfort women-based movie Twenty Two into consideration. It will generally introduce the results of previous works and focus on the use of multimodalities to see how they work in Twenty Two. 1.2 Objectives of the study This thesis

10、tries to explore how multimodal discourse analysis helps explain the movie Twenty Two to the audience under Kress and Van leeuwens visual grammar. Here we will mainly talk about the representational meaning, interactive meaning and compositional meaning of images. It is to firstly give brief informa

11、tion about the movie and its background and then explains how multimodalities work respectively and together for the target movie. Hopefully, it will provide answers to the following questions: 1) What are the representational meaning, interactive meaning and compositional meaning of the images in

12、 the movie Twenty Two? 2) How do different modalities work in displaying the sufferings and current status of those women victims under Visual Grammar? 3) What do the comfort women really need according to the analysis result of the movie, apologies and compensation? Or inner peace? 1.3 Outline o

13、f the thesis Chapter 1 gives a general introduction to the background, objectives and outline of the thesis. Chapter 2 gives an introduction of the target movie Twenty Two as well as previous works in multimodal discourse analysis and its application in movie studies abroad and at home. Chapter 3 p

14、rovides study methods and the theoretical framework— qualitative analysis and Visual Grammar by Kress and Van leeuwen. Chapter 4 will answer the questions proposed and to analyze the representational meaning, interactive meaning and compositional meaning of the selected images of the movie. Meanwhil

15、e, to conclude what these survived forced-to-be comfort women really need and what their real thoughts are towards their sufferings in the War against the Japanese. Chapter 5 concludes the study. Chapter 2 Literature Review This part will give a brief review about the previous achievements in the

16、field of multimodal discourse studies both at home and abroad, the documentary Twenty Two and the progress in discourse analysis of film at present, so that we can have a good understanding about the current research. 2.1 A review of the Movie Twenty Two As an outstanding Chinese-based documentary

17、 film, Twenty Two, named after the number of Chinese comfort women who were still alive at the time when the film was shooting in 2014, hit the theatres on August, 14, 2017 against the backdrop of the Massacre of Nanjing in 1937. Over 200,000 Chinese women were estimated to be compelled to be comfor

18、t women during the Massacre of Nanjing in 1937. Many of them were tortured to death or committed suicide due to the unbearable humiliation, so only a few survived. In the year of 2014 when the movie is being shot, the number of these forced-to-be comfort women was 22. Until this year, the number of

19、the survivors is limited to nine. That is one reason why each one of the Chinese people has never forgotten the miserable history from their memories. The year 2016 had witnessed the well welcomed Spirits Homecoming--a film related to the real life of Korean comfort women in the WW. Twenty Two is th

20、e "Spirits Homecoming" in China. According to the Chinese director Guo Ke, he chose a very quiet and peaceful way to unveiled them to the public in an affectionate manner. I think thats enough, and thats what I think about the Twenty Two. The Guangming Daily Newspaper issued an article saying that T

21、wenty Two recording the female survivors had fascinated audience of different ages to go to theatres, making them get a better understanding of the humanitarian disaster happened to more than 200,000 Chinese female. Meanwhile, as a comfort women-focused film, Twenty Two has recorded the moments abou

22、t these old women when they were having meals, talking, smiling, singing, feeding cats and breeding the off-bring. Their affliction and the scabs could be pulled only when being inquiring about the bitterly painful past as comfort women. Besides, Objectivity and authenticity are the essential proper

23、ties of documentary films, so Guos film adopted direct record and description to reflect and follow the reality as largely as possible. This has manifested the original nature of the documentary in the weighing and balance of the value and ethics. As an inseparable part of the World War , The War o

24、f Resistance against Japan has one of its unforgettable parts- the Massacre of Nanjing in 1937. However, it is hardly ever known overseas, and there are less foreign scholars’ studies in the history of the 1937 disaster. It was not until the year of 1997 which marked the sixtieth anniversary of the

25、Massacre of Nanjing that Iris Changs book hit the market. Iris Chang, a Chinese American published her well known history book in English version-The Rape of Nanjing: The Forgotten Holocaust of World War . Thus, the less-acknowledged history was widespread in western world. The book has focused on t

26、he horrible history fact of the nightmare for the 200, 000 Chinese female. Iriss story was then shot an English documentary: Iris Chang: The Rape of Nanking, which was co-directed by Canadian and Hong Kong directors. The documentary recorded some respondents retelling of their experience when they w

27、ere or witnessed their female family were raped and violated by Japanese army and were compelled to be comfort women. And both her book and story serve as the channels for foreigners to get close to the disaster in 1937. 2.2 Previous Studies on the Multimodal Discourse Analysis at Home With the de

28、velopment of science and technology and the change of social needs, multi-modal discourse has become a part of contemporary life. The change of discourse mode brings new requirements to the theoretical description. In multimodal discourse, the modes interact with each other, complement each other an

29、d create meanings in context. Multimodal discourse analysis is unfledged at home, but there are books and theses about the subject. Among them, Hu Zhuanglins Polymorphism in the study of social semiotics (2007) discussed the differences between Multimodal semiotics and multimedia semiotics. Other s

30、tudies include the study of multimodal discourse theory by Li Zhanzi (2003) and systemic functional linguistics. In recent years, research on multimodality has gradually moved from the application of linguistics to nonverbal symbols, like image and gesture, to the interdisciplinary system interpreta

31、tion of multimodal expression research. Therefore, multi-modal research with unique theoretical system and analytical method is becoming an emerging humanities subject. On the one hand, the interdisciplinary theoretical system of integrating linguistics, media, cognitive psychology and other discipl

32、ines is forming and being applied to more complex symbols and behavior systems such as dynamic discourse. On the other hand, new research tools and methods of computer simulation, corpus retrieval and other digital technologies have been developed rapidly. The theories and methods of multi-modal ana

33、lysis are also gradually applied to various social behaviors and discourse studies such as classroom teaching, advertising media and court debates. In the field of multimodal discourse analysis, a new theoretical approach is the GeM model proposed by John A. Bateman in 2008. This model combines lin

34、guistic theory, layout design and computer technology, in a bid to scientifically analyze pages and documents, annotate and retrieve relevant multi-modal corpus. At present, there is not a thorough introduction of the GeM model, and the application of it is still limited to the structural analysis o

35、f the WeiBo discourse. Therefore, it is necessary to study theoretically the GeM model and its component of the working principle, and put forward the use of the GeM model in big data retrieval, foreign language teaching, design, and other areas for further application, so as to attract more domesti

36、c scholars to research and application of this new type of multimodal discourse analysis method. Multimodal discourse analysis has been applied in films analysis at home. Research and papers are various. Tang wrote her master thesis A Multimodal Discourse Analysis off BBC Documentary Wild China. Th

37、e thesis uses a MDA research for the documentary under functional grammar and visual grammar in an attempt to display the meaning under the documentary, which has expanded the study scope to documentary. However, the limitations are: first, the images for the MDA research are derived from two episod

38、es, and the number of images is only thirty-seven. Besides, further study should be put on sound and music. Yang Jie studies the subtitle translation of the movie Zootopia, finding that signal modality could not entirely express the information in subtitle translation, and more other modalities, suc

39、h as images, sound, tone and action are needed. Whats more, both visual images and the subtitles are required to build a complete meaning. The theory of integrated framework of multimodal discourse analysis, like sound, language, image, makes the study no longer limited within traditional translatio

40、n studies. Semiotic modalities, for example, sound, image, language did a lot help to express the real meaning of films and television works. Because of the participation of the visual images, audience can have an easier and better understanding of the meaning of the movie. However, the limitation l

41、ies in the samples are limited, and the dynamic images are not involved. Last but not least, the theory of integrated framework of multimodal discourse analysis is a new thing, so that there are limited materials. The development space is broad. Xie studied the relationship among multi-modalities in

42、 the film Titanic, finding the most used modality is the visual modalities, which include both images and words. And the verbal modalities, like sound and music, are embraced in the targeted film. The thesis made an analysis from the three meta-meanings in Visual Grammar, and it talked about all the

43、 meta-meanings of the Visual Grammar. These efforts help further studies focus on either visual modalities or verbal modalities, and the relationship of both visual and verbal modalities will not be needed to be studied by researchers. However, the limitation is that the limited space caused the fai

44、lure to give each meaning equal stress as well as the synthetic study. Further researches are needed to be done in displaying more explanation about the characteristics and nature of the compositional meaning of film discourse, so that all kinds of modalities could be analyzed in film discourse. 2.

45、3 Previous Studies on Multimodal Discourse Analysis Abroad Since American linguists Harris proposed discourse analysis at the beginning of 1950s, discourse analysts around the world have made great efforts to propose kinds of theories and means about discourse analysis. They have already studied th

46、e inner rules of discourse analysis as well as the connections between discourse analysis on the one hand and ideology and cognitive mode on the other hand. However, the shortcomings lie in that the basis is limited to language in itself. That means they underlined the links between language system

47、and semantic structure, language system on the one hand and social culture and psychological cognition on the other hand, neglecting other forms of meaning expression, such as image, sound, color and comics and animation. This has generated much limitation to discourse analysis. The multimodal disco

48、urse analysis deriving from the west in 1990s can provide an answer to the problem. As digital technology continues to unfold, human life and interaction modes are evolving. Single medium of language is gradually replaced by complicated media made of language, images, sounds and others. Since 1990s,

49、 Social semiotics scholars established grammatical and semantic systems to describe visual images (Kress and Van Leeuwen 1996; OToole 1999), mathematical signs (OHalloran 2005), and gesture (Martine 2000). R.Barthes is one of those who first studied the multimodal discourse analysis. He had discuss

50、ed the mutual functions between images and language in expressing meaning. This could be learned in his paper Rhetoric of the Image. Kress.G and Van Leeuwen.T (1996; 2001; 2003) studied the links between modality and media, discussing how to express meaning through multimodality, including visual im

51、ages, color grammar, the layout of newspapers and the functions of various media. They proposed three meanings of visual grammar: representational meaning, interactive meaning and compositional meaning which have provided a solid theoretical foundation for images analysis. This is a systemic functio

52、nal-multimodal discourse analysis based on systemic functional linguistics(Halliday 1994；Halliday Matthiessen 2004；Martin 1992) and social semiotics(Halliday 1978；Hodge Kress 1988；van Leeuwen 2005). Latterly, Clare Painter, Jim Martin and Len Unworthy accomplished interpretation of visual Narration:

53、 Image Analysis of childrens picture books. The book is about computer translation, and it is the most prominent work on the theory of visual image analysis after Kress and Van Leeuwen (1996). It is beneficial to further studies on multimodal narrative discourses, including comics, comic books TV ad

54、s, films, among others. With the development of multimodal discourse analysis, linguists Norris published his book Analyzing Multimodal Interaction. This book focuses on the qualitative analysis as the main research method, with dynamic video as the research object. (Words, Space distance, Body pos

55、ture, Hand movements, Head movement, Eyes, Music, Print and Scene layout) these nine main modes of communication are analyzed in detail, and the basic framework of multi-modal interaction analysis is preliminarily constructed. The book not only enriched and developed in theory and application of mul

56、timodal discourse analysis research, also for the dynamic discourse of multimodal discourse analysis research provides a new Angle of view, and expanded the research scope of multimodal interaction analysis theory. Norris (2004) wrote his book under the influence of Ron Scollon who suggested mediate

57、d discourse analysis and association analysis. Ron Scollon holds that human action can be divided into three parts: social action, communication and history. On the basis of that, Norris suggested that the action be the basic unit of multimodal interaction research. Norris also believes that hand in

58、teraction makes all kinds of modalities as the mediated action, thus the process and phrases of the action can be reflected and recognized. In the field of multimodal discourse analysis, a new theoretical approach is the GeM model proposed by John A. Bateman in 2008. This model combines linguistic

59、theory, layout design and computer technology to scientifically analyze pages and documents, annotate and retrieve relevant multi-modal corpus. In 2009, linguist Jewitt thought the elementary development of multimodal discourse analysis has formed three theories: systemic functional-multimodal disco

60、urse analysis or systematic functional semiotics by Gunther Kress and Van Leeuwen, multimodal interactional analysis by Norris and Multimodal discourse analysis in Corpus Linguistics by Gu. Y. 2.4 Space for this study Systemic functional linguistics provides a basis for the research and study of

61、multimodal discourse analysis, which can be studied from the perspectives of culture, situations, discourse meanings, grammar, forms, media, and the like. Seen from the aspect of media, different non-language media, especially the modern ones have offer a great number of new available choices to dis

62、course communication. They can express a certain meaning through multimodal analysis. Under a multimodal circumstance, multimodal discourses can build connections, which has something to do with whether we could regard them as mutual complementary or not. This paper mainly analyzes the documentary T

63、wenty Two under the Multimodal Discourse Analysis. Integrated with images, music, language, action, etc, film is a typical dynamic multimodal discourse. Studies on multimodal discourse analysis are limited on foreign movies, and less are about homemade ones. Besides, the development of dynamic inter

64、action and multimodal symbols make the film language of discourse analysis is relatively complex. The prospect of multimodal discourse analysis in films is bright. Therefore, this study explores the role of the use of various modalities in the film in terms of the meaning of the discourse in film, w

65、hich has both theoretical value and practical significance. Chapter 3 Research Design 3.1 Research Theory The movie Twenty Two talks about the forced-to-be comfort women in China, and as we all know, this vulnerable group of women is not only seen in China, but also in other countries. Those with

66、 unfair minds do not want to admit but to erase this shocking event from history. Under such circumstances, the movie, technically a documentary, is a mirror which can tell people the undeniable truth. The theory of this thesis will be Kress and VanLeeuwens Visual Grammar, which talks about three meanings of image presentation: representational meaning, interactive meaning and compositional meaning. This theory is the development of Hallidays meta-functions b